ZooScope

Category: Article Type: Zoom

  • It: Chapter Two. Dir. Andy Muschietti. Warner Brothers. 2019

    Following this scene, we see the characters of Richie (Bill Hader) and Eddie (James Ransone) petrified by Pennywise, a shape-shifting creature known as a Glamour, following them; they open a door and are greeted by a cute Pomeranian dog, creating an air of bathos. Here, we have a conflict of genres as the primary classification…

  • The Thing. Dir. John Carpenter. Universal Pictures. 1982.

    The Thing (John Carpenter, 1982) uses dogs as an emotional catalyst to evoke a heightened sympathetic response from its audience. The alien organism – adopting the exterior of a dog – exploited the trustworthy, friendly associations that humans have with dogs in order to infiltrate the research lab after observing human-animal relationships. Clark, a researcher,…

  • Jojo Rabbit. Dir. Taika Waititi. Fox Searchlight Pictures. 2019.

    Jojo Rabbit (Taika Waititi, 2019) follows a young German boy growing up during World War Two. During a sequence depicting Jojo’s education, a rabbit is used as a symbol of morality to train a group of Hitler Youth. The children unanimously agree that they would kill for Germany – this is then put to the…

  • True Grit. Dir. Ethan Coen and Joel Coen. Paramount Pictures. 2010.

    Although the tone of True Grit (2010) is primarily light-hearted and comedic, the narrative explores dark themes of grief and revenge. After her father is murdered, fourteen-year-old Mattie Ross (Hailee Steinfeld) embarks on a journey to ensure her father’s killer is hanged for his crime, enlisting the help of infamously violent and self-serving U.S. Marshal…

  • Okja. Dir. Bong Joon-ho. Netflix. 2017.

    Okja[1] is a South-Korean/American film about a girl called Mija and her best friend, a ‘super pig’ called Okja. When Okja gets taken by the company who made her, the Mirando corporation, Mija leaves her idyllic mountain-top home and goes on a dark adventure, determined to find Okja and bring her back home. At the…

  • Pet Sematary. Dir. Mary Lambert. Paramount Pictures. 1989.

    Mary Lambert’s 1989 adaptation of Stephen King’s Pet Sematary is a horror film that supplants the blood-thirsty killer with a household pet – one which becomes increasingly unfamiliar as the film progresses. Aided by a combination of practical and special effects, the Creeds’ ghostly cat Church transitions into an object of the uncanny, and thus…

  • Mrs. Doubtfire. Dir. Chris Columbus. 20th Century Fox. 1993.

    In this family comedy directed by Chris Columbus, Mrs. Doubtfire (1993) uses cartoon animals to reflect Daniel’s anarchic behaviour, letting the audience stipulate as to whether he is the antagonist or protagonist in this story of conflicting parenting styles. From the film’s opening scene, Daniel’s conscientious nature is divulged in an over the top performance…

  • Sorry to Bother You. Dir. Boots Riley. Annapurna Pictures. 2018.

    Boots Riley’s debut feature has been praised for its portrayal of the callous nature of capitalism in modern America. The overarching message throughout is that the efficiency of the labourer is paramount to economic success and is valued more than human life, with this ideology being brought to life with the Equisapians, a half-human/half-horse hybrid,…

  • Brother Bear. Dir. Aaron Blaise, Robert Walker. Walt Disney Pictures. 2003.

    Brother Bear works to trouble the relationship between humans and bears through destabilising the idea that bears are inherently threatening and monstrous. The children’s animation follows Kenai, a young human boy who is transformed into a bear by spirits after killing a bear to avenge his brother’s death. Within this scene, Blaise and Walker use…

  • American Honey. Dir. Andrea Arnold. 2016.

    Andrea Arnold’s films are renowned for their nuanced focus upon human behaviour. However, as Michael Lawrence recognises in his analysis of her 2011 adaptation of Wuthering Heights, Arnold ‘privileges the natural environment and its non-human inhabitants as characters in their own right’.[1] This scene is no different, as even within the interior setting Arnold utilises…